logo
New Mexico arts nonprofits reel from slashed federal funding

New Mexico arts nonprofits reel from slashed federal funding

Yahoo07-05-2025

MovementLab performs 'Weaving Landscapes' inside the 'Daedalum' inflatable sculpture made by United Kingdom-based artists Architects of Air for the PASEO 2024 festival in Taos. The Paseo Project was one of a series of New Mexico art groups that received notice of funding cuts from the federal government late last week. (Photo Courtesy of Doug Davis.)
An interactive arts festival, the production of the Wagner opera 'Die Walküre' and a month-long celebration of jazz are just a few of the creative New Mexico endeavors whose funding the National Endowment for the Arts canceled this week.
The NEA, the nation's largest funder of arts and education, sent emails late on May 2 rescinding grants issued in January, when New Mexico received 19 grants totaling more than $625,000. While the exact amount of canceled funding remains unclear, arts organizations confirmed to Source on Tuesday more than $100,000 in cuts.
State arts agency New Mexico Arts, which receives funding through NEA for its grantmaking, did not respond to a Source request for comment on Tuesday.
J. Matthew Thomas, the executive director and founder of the Paseo Project, has run the PASEO festival in Taos for the last 12 years. The weekend-long event in September features exhibits from multiple artists, often with interactive elements of light or projection.
Thomas said without additional funding to replace the $35,000 grant, he may have to cut artists from the show. He said he would appeal the decision and is trying to seek other grant opportunities, and remained determined the festival would happen as scheduled.
'We will persevere, especially with the festival,' he said. 'We may have to scale back, but art was built for this to react, respond and move forward.'
Santa Fe Opera Director of Media Emily Doyle Moore confirmed in an email to Source NM that a $55,000 grant for this summer's premiere of 'Die Walküre' was terminated, and said the opera plans to appeal the decision.
NEA recipients in New Mexico said they were unsurprised by the withdrawals, noting the cuts to the National Humanities Council and threats to public media funding, but said they were perplexed by the rationale.
Unsigned emails announcing the cuts shared with Source NM offered no specific reasons for the decision, but instead included boilerplate language noting that the NEA is 'updating its grantmaking policy priorities to focus funding on projects that reflect the nation's rich artistic heritage and creativity as prioritized by the President. Consequently, we are terminating awards that fall outside these new priorities.'
The email also stated that prioritized projects would include 'elevating Historically Black Colleges and Universities and Hispanic Serving Institutions; celebrate the 250th anniversary of American independence; foster AI competency; empower houses of worship to serve communities; assist with disaster recovery; foster skilled trade jobs; make America healthy again; support the military and veterans; support Tribal communities; make the District of Columbia safe and beautiful and support the economic development of Asian American communities.'
Source NM emails and calls to the media line at the NEA went unreturned Tuesday.
Tom Guralnick, the founder and director of Outpost Productions, which runs a performing arts space and hosts the month-long Jazz Festival, told Source he tried to ask for an advance of the $25,000 grant earlier this year, worried that it would be rescinded.
Tom Guralnick poses with an NEA Jazz Masters banner at the Jim Gale Back Hall Gallery next to a photo of famed jazz trumpeter Wynton Marsalis, who played at the Outpost as part of that program. (Danielle Prokop / Source NM)
The NEA declined Guralnick's request and then, late Friday, issued the withdrawal. Guralnick said the loss is 'nothing to sneeze at,' but that the 19th annual festival will happen this fall regardless.
He also said he would appeal the decision, but worried about the future of the entire program, noting the recent White House Budget request to eliminate the NEA entirely.
'They want everything good, gone,' he said. 'How many people remember who was the mayor of Rome when Michelangelo painted the Sistine Chapel? It's the art that people remember; it's the art that makes us a society.'
Guralnick, who founded The Outpost 37 years ago, said the organization has received NEA grants for the last three decades, but said he'd work to secure more support from foundations and individuals.
'We'll all do everything we can to keep things going, but the loss of the organization and the money and the attitude behind it that stifles creative arts is huge, it affects everybody,' he said. 'It shows the government can control what happens, at least with the money they do have.'
Some art groups remain in limbo, awaiting the fate of applications from last July. This includes 516 Arts, an Albuquerque nonprofit dedicated to contemporary art.
Executive Director April Chalay told Source NM currently the federal portal has no information regarding the $30,000 pending grant the gallery requested for a current exhibition featuring Native American photographers from New Mexico and around the U.S.
If the grant is rejected, it will most likely mean staff cuts at 516 Arts, Chalay said, and raises questions for the sustainability of art funding moving forward.
'It used to be that if you were able to obtain federal funds and regularly retain federal funds, that was a stable, more stable grant revenue than, say, private foundations. But now this just throws that into question as well,' she said.
AMP Concerts founder Neal Copperman said a withdrawal of a $20,000 grant means the event to host Vietnamese musician Van-Anh Vo will most likely be canceled.
'It's not going to be crippling for us,' Copperman said. 'It just helps us do projects, like free shows at the local libraries who are bringing artists to schools.'
While Copperman said the grant funding from NEA does not entirely impact his bottom line, he noted that the loss of the agency would trickle through art communities throughout the state.
He said the cuts to the arts reveal a bigger, existential threat to freedoms.
'What's frustrating and scary about the cuts is less about the direct impact that it has on my organization or arts organizations in general, it's the processes that are being done across our communities at large,' Copperman said.
He called the arts the 'bellweather' of the current climate.
'While the arts are a target in this conversation, personal rights, immigrants' rights, trans, bi and gay — and all other people's rights in general — are all threatened,' he said.
SUBSCRIBE: GET THE MORNING HEADLINES DELIVERED TO YOUR INBOX

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Real Madrid confirms signing of Alexander-Arnold ahead of Club World Cup
Real Madrid confirms signing of Alexander-Arnold ahead of Club World Cup

Associated Press

time26 minutes ago

  • Associated Press

Real Madrid confirms signing of Alexander-Arnold ahead of Club World Cup

MADRID (AP) — Real Madrid confirmed the signing of Trent Alexander-Arnold on Friday in time for the Club World Cup after paying a reported fee of 10 million euros ($11 million) to Liverpool. The 26-year-old England right back has agreed to a six-year deal through June 2031, the Spanish club said. Madrid said Alexander-Arnold will play for Xabi Alonso's team at the Club World Cup to be held in the United States starting in mid-June. Alexander-Arnold had been criticized by some Liverpool fans for having let his contract run down — meaning he could leave as a free agent. But the deal announced Friday means Liverpool will get at least something. ___ AP soccer:

‘Jeopardy!' star Ken Jennings is hosting a miniseries about the history of public transit
‘Jeopardy!' star Ken Jennings is hosting a miniseries about the history of public transit

Fast Company

time39 minutes ago

  • Fast Company

‘Jeopardy!' star Ken Jennings is hosting a miniseries about the history of public transit

In September 2024, Jeopardy! host Ken Jennings took a brief interlude from taping one of America's most iconic game shows to film another series: a YouTube show about the history of public transit, set in his local county of Snohomish, Washington. The show, called The Transit Effect, is a seven-part series that examines why public transit matters, diving into everything from infrastructure and economic growth to access to work, school, and healthcare. It's the brainchild of Community Transit, a public transportation agency in Washington's Snohomish County, just north of Seattle. The show's first episode is now available on YouTube and on Community Transit's website, with the remaining installments slated to drop over the coming months and into 2026. Starting with the electric streetcars of the 1920s, The Transit Effect maps how American communities have been shaped by public transit—and, amid today's notoriously car-centric American infrastructure, it presents a thesis for investing in more sustainable transportation options. The show is especially timely, given the Trump administration's current crackdown on renewable energy and support for various fossil fuel industry projects. 'We hope viewers come away with a deeper appreciation for how much public transit shapes daily life—even if they never set foot on a bus,' says Community Transit public information officer Monica Spain. 'If this series sparks someone to think, 'I had no idea transit did all that,' or nudges them to take a ride instead of drive, that's a win.' How Snohomish County's 'Community Transit' snagged Ken Jennings Rory Graves is a senior marketing copywriter at Community Transit who helped develop and write The Transit Effect. She says that, when the idea for the show first came about, the team knew the series would need to be anchored by a host who was both familiar and trustworthy to a wide range of audiences. It wasn't a new challenge for the agency: In 2024, Community Transit partnered with American travel writer Rick Steves—who has lived in Edmonds, Washington (a city inside Snohomish County) since 1967— on another educational transit series. For The Transit Effect, Graves thought Jennings, another longtime Edmonds resident, could be the perfect fit. 'We wanted to find someone who was a trusted source of information to do that storytelling. Who better than Ken Jennings?' Graves says. In 2004, Jennings won 74 consecutive games of Jeopardy!, the longest winning streak in the show's history, before becoming its host in 2021. Beyond his impressive credentials, Jennings also has a personal connection to Community Transit: As a college student, Jennings frequently rode the agency's buses between his family's home in Edmonds and the University of Washington. Today, he lives in Seattle. After Community Transit reached out to him over email, Jennings readily agreed to host The Transit Effect. But there was a small catch. Given Jennings' tight schedule, the entire seven-part series had to be filmed in just four hours—a feat that required extensive preparation and multiple dry runs to 'test every piece of equipment, walk through the setup, and build in redundancies,' Graves says. 'We don't have a huge budget like Amazon or Coca-Cola for our campaigns, but Ken was happy to collaborate with us, and we're thankful for that.' Exploring how public transit shaped America as we know it To give viewers a peek behind the curtain at the history of public transit, The Transit Effect is organized into sub-10-minute episodes by themes. Episode 1, for example, details how '20s era streetcars, electric trolleys, and subway systems determined how major American cities expanded; episode 3 dives into the environmental impact of public transit compared to travel by car; and episode 6 explains how public transit can serve as a vital lever of accessibility for kids, the elderly, those with disabilities, and those without access to a vehicle. Throughout the series, Jennings refers to local examples to help illustrate this history—like in episode 1, which notes how the expansion of the Link light rail, a train system in the Seattle area that opened in 2009, has roots that extend back by more than 100 years. 'Everyone's talking about Link light rail expansion, but did you know our region had electric mass transit more than a century ago?' Graves says. 'The old Interurban Trolley once ran along the same route we now know as the Interurban Trail. We often treat electric transit like it's brand new, but it's actually part of our history. What's fascinating is how long cleaner, electric options have existed—and how car-centric planning pushed them aside.' Another surprising tidbit explored in the show is how public transit shaped the musical world. The series highlights how New York City's subway system helped make Harlem a cultural epicenter for Black Americans in the '20s and '30s, attracting the musicians that would ultimately bring the Harlem Renaissance to life. 'It's wild to think that something as everyday as a transit system could set off a domino effect that helped launch the careers of artists whose legacies have helped define modern music,' Graves says. Through these stories, Spain says, Community Transit hopes to help viewers understand how 'public transportation shapes communities and removes barriers to opportunity,' and to encourage community members to invest in their local public transit systems. 'More than anything, we want people to see transit not just as a service, but as a powerful force for good in our region,' Spain says.

Sliders: As he nears 3,000 Ks, Clayton Kershaw shares thoughts on the future of his craft
Sliders: As he nears 3,000 Ks, Clayton Kershaw shares thoughts on the future of his craft

New York Times

time40 minutes ago

  • New York Times

Sliders: As he nears 3,000 Ks, Clayton Kershaw shares thoughts on the future of his craft

Welcome to Sliders, a weekly in-season MLB column that focuses on both the timely and timeless elements of baseball. Durability and dominance are the twin pillars of pitching greatness. Prevent runs for a long time while humbling the world's greatest hitters: Few have ever done it better than Clayton Kershaw of the Los Angeles Dodgers. Sometime soon, Kershaw will record his 3,000th career strikeout. On Wednesday, in his third start of the season, Kershaw fanned three Cleveland Guardians to push his total to 2,974. His career earned run average is 2.51.  Only one pitcher in history has that many strikeouts with a better ERA: Walter Johnson, who was born 100 years before Kershaw and last pitched in 1927. Johnson had a 2.17 ERA and 3,509 strikeouts — and if he had whiffed batters at Kershaw's rate, he would have fanned almost 6,400. In my colleague Andy McCullough's engrossing Kershaw biography, 'The Last of His Kind,' Kershaw said flatly that he did not care about 3,000 strikeouts. Advertisement He does. 'Yeah, I'd be lying if I didn't want to do it,' Kershaw said last week. 'But I think the coolest part is the company you get to be a part of. You know what I mean? There's just some really special names.' He laughed and continued: 'I try not to think about it, because honestly, at this rate 30 strikeouts seems like a lot. A lot can happen. But if I ever do get to do it, the guys that I came up with, Scherz and Verlander, I want to be in that group, too.' Justin Verlander (3,457 strikeouts), 42, is on the San Francisco Giants' injured list with a pectoral injury, and 40-year-old Max Scherzer (3,408), now with the Toronto Blue Jays, has been out since March with right thumb inflammation. Kershaw, 37, is coming off knee and toe surgeries. What a drag it is getting old. The three aces, of course, have a lot to show for their hardship. Each has earned more than 200 victories (262 for Verlander, 216 for Scherzer, 212 for Kershaw), which is very hard to do without a lot of success before age 30. When Kershaw turned 30, he had 144 wins. Verlander had 124 at that age, Scherzer 85. The active under-30 leader in victories? The Giants' Logan Webb, 28, with 60 — fewer than half of what either Kershaw and Verlander totaled by 30. If there's a certain successor to Kershaw, he hasn't revealed himself. 'It is weird to not see young guys figure it out,' Kershaw said. 'I wish there was a simple solution. Maybe (Paul) Skenes is that. Maybe 100 (miles an hour) is just too fast, maybe that's what it is. I don't know.' Nobody who started his career after 1988 has 300 career wins. But after this generation, is 200 also doomed? The master has thoughts. 'I hope starting pitching has a resurgence,' Kershaw said. 'I think it's better for the game to have starters throw 200 plus innings (and go) 115, 120 pitches. Seeing those matchups in the seventh inning, that's what fans like. I think it's better for baseball, I think it's better for health, I think it's better for relievers. It's good for a lot of things. Advertisement 'Now, how can we get back to that in an age where we have to have incredible stuff (and) be able to maintain it? I don't know how you get back to that, because I do think it is harder now. I think hitting is better. I think the strike zone's smaller. Even from 10 years ago, I think everybody's just better. I think the talent is just so much better. 'So unless you're like the few guys like (Tarik) Skubal or Zack Wheeler or (Yoshinobu) Yamamoto — you can kind of count them on one hand, the guys that have the ability to go seven every (start) — it's just hard.' No MLB pitcher has reached 115 pitches in a start this season. The Dodgers have had only two seven-inning starts (both by Yamamoto), the same as the Milwaukee Brewers and New York Mets. The Chicago White Sox have had one. The Miami Marlins haven't had a starter go seven all year, and their nominal ace, Sandy Alcantara, hasn't been right since 2022, when he won the National League Cy Young Award as a model of sturdiness. Alcantara led the majors with 228 2/3 innings that season, had Tommy John surgery the next October and now has the majors' highest ERA (min. 50 innings) at 8.47. In spring training, after the New York Yankees lost Gerrit Cole to Tommy John surgery, teammate Carlos Rodón noted that every throw is tracked for shape and spin, even in the bullpen. It's max effort with every pitch, every time. 'I agree with that, but at the same time, that's how you get drafted, that's how you make it through the minor leagues,' Kershaw said. 'So that's what you do, because teams value that over learning how to pitch.' Kershaw, a father of four, drew an apt analogy: In farm systems, he said, it's as if teams build fleets of Ferraris without making any minivans. Sometimes, he said, a minivan gets the job done. 'So there needs to be some blend of it to a point where you can do both,' he said, referring to power and durability. 'I know everybody's starting to think about how to keep guys healthier and how to get (more from) starters, because we use our whole bullpen more than anybody, and as good as our bullpen is, it's a hard thing to sustain. Advertisement 'I have tons of thoughts on it. Nobody knows if they're right. (We won't know) until somebody radical makes huge changes, until a team tries to flip everything on its head and find guys that can sustain it and just go for pitchability — other than just pure metrics and stats — and have success. You have to have success, or nothing's going to change.' It's unfair to demand that baseball produce more Kershaws. He is an outlier, after all, one of the greatest ever to do it. But it shouldn't be impossible. And as Kershaw approaches another milestone, it's worth studying his species to ensure its survival. Four teams signed Drew Pomeranz to a contract in 2024. He logged four days of major-league service, never got into a game, and spent months rediscovering something called summer. 'It was amazing — like, summer?' Pomeranz said recently. 'Most of us haven't had summer since we were I don't know how old. It's a different life. I played a lot of golf. Took my kids to school. We did the whole south of France thing. It was fun. I didn't know where I was.' Now, at 36, Pomeranz is back to a place he wasn't sure he'd ever visit again: a major-league mound. He didn't get there with the Los Angeles Angels, Dodgers, Giants or Seattle Mariners, who all held his rights last year. But the Chicago Cubs are glad they found him: In 14 appearances, Pomeranz has worked 12 2/3 scoreless innings with 14 strikeouts, three walks and no runs allowed. 'The guy's throwing fastballs by people right now, and his breaking ball is something that's always stood out to me,' starter Matthew Boyd said. 'It's just really cool that he continues to do his thing and get outs, and he's so valued on our team.' Pomeranz had flexor tendon surgery in August 2021, a month before Boyd. But while Boyd has appeared in the majors in every year since — even mixing in Tommy John surgery in 2023 — Pomeranz's record shows three blank seasons in a row: 2022, 2023 and 2024. Each year he pitched a handful of innings in the minors, which only increased his frustration. Advertisement 'It just felt like no matter what you do, nothing's working,' said Pomeranz, who had another surgery, in 2023, to remove a bone spur. 'I've always been a player who's like: 'I need to get back, I need to get back,' instead of probably being a little selfish and taking more time. You feel like a jerk when you're not with your teammates — not playing, just hurt all the time. It's not fun.' Pomeranz, an All-Star starter for San Diego in 2016, returned to the Padres as a reliever with a four-year, $34 million contract in November 2019. He pitched well in 2020, tore his flexor tendon the next spring and tried pitching through it until August, when the pain became unbearable. 'I threw a pitch and felt it rip more,' Pomeranz said. 'It hurt to throw my fastball so I was just flipping curve balls, trying to get out of the inning. I had two outs and the guy rolled over one. It just dribbled through the four hole and I was like, 'OK, I can't do this.' I gave it all I had.' Pomeranz never made it back with San Diego, but got through a healthy spring training with the Angels in 2024. From there he pitched in Triple A for the Dodgers, then left when the Giants offered a spot in the majors. It would last just four days, they told him, and Pomeranz warmed up once, at Citi Field last May 24. The Giants were trailing the Mets in the top of the eighth, and if it stayed that way, he would pitch the bottom of the inning. When a three-run homer by Patrick Bailey gave the Giants the lead, Ryan Walker was summoned instead. By the end of May Pomeranz was a free agent again, waiting for another call to the majors. It never came, and returning to the minors held no appeal. That left Pomeranz in a strange kind of purgatory. When you reach the majors as a phantom, fulfillment is elusive. 'I made it back but I didn't pitch,' Pomeranz said. 'There was a little bit in me that was like, 'I'd like to pitch one more time and just give it everything I got' — and that would be good. Just go out there and throw as hard as I can.' Advertisement The summer was fun, Pomeranz said, but also boring at times. He figured he should work out 'just to be a healthy human being,'and gravitated to a baseball training facility in Irvine, Calif., near his home. The Mariners signed him in early December, but Pomeranz was still conflicted. 'Before spring training,' he said, 'I was literally like, 'I just might not go.'' He went, pitched well and kept at it with Triple-A Tacoma, knowing he could leave if another team offered a job in the majors. The Cubs did, and when Pomeranz debuted against the Philadelphia Phillies on April 25, he lived out his vision: fastballs, as hard as he could. Bryce Harper swung through the first two, fouled off another, then swung and missed again. Pomeranz was back, this time for real.  'I don't care when I pitch, I don't care who I face, just tell me and I'm gonna do whatever I've got to do,' Pomeranz said. 'I have a very different perspective on baseball — and playing in general — than I did when I was younger. After not having baseball, I'm just happy to be here every day now. I don't care what happens. I'm just gonna enjoy it. The Mets' Francisco Lindor is already one of the most accomplished all-around switch hitters in major league history. With five more stolen bases, he will join Carlos Beltrán and former Cleveland teammate José Ramírez as the only switch hitters with 1,500 hits, 250 homers and 200 steals. And at 31 years old, he has lots of time to add to his resume. Lindor is a natural right-handed hitter. He's been essentially the same threat from both sides over his 11 MLB seasons: .286/.350/.488 as a righty and .269/.339/.469 as a lefty. Not only do most breaking pitches move into him, he said, but being a switch hitter also affords a clearer view of every pitcher's release point. That is, he never faces a pitch delivered from behind his head. Advertisement Lindor — who modeled his style after a fellow infielder from Puerto Rico who was traded from Cleveland to the Mets — offered some insights before a recent game at Citi Field. Why did you decide to switch hit? 'My favorite player, Roberto Alomar, and my brother and my cousin, they switch hit. I always wanted to be like them, so I did it. I always did it as a kid, but when I was 14, 15 years old, that's when I first took it seriously.' Did you struggle as you learned your left-handed swing? 'There's still struggles from the left side, still struggles on the right side. And I plan on it to be like that my whole career.' Why did you stay with it? 'I'm stubborn, and my dad always said, 'If you can hit .500 from one side, why would you switch and make it harder on yourself?' So I used it as a motivation to prove to him that I can hit from both sides.' What advice would you give to aspiring switch hitters? 'To stick to it — and if you take 200 swings from one side, you've got to take 200 from the other side as well. You've got to make sure you give the same amount of love to each side.' When you're hot (or cold) on one side, are you also hot (or cold) from the other? 'Most times, yes, because it's the same brain. When you're feeling good, you're feeling good. So you kind of bounce back from one side to another. But sometimes it doesn't work like that, and vice versa — if you're struggling from one side, it doesn't mean you're gonna struggle from the other side. So having two swings, when I'm struggling from one side I try to imitate myself from the other side, and that helps.' Milwaukee's Christian Yelich has been playing in the majors for 13 seasons. He's dug his cleats into the batter's box more than 6,500 times. And yet until this week, Yelich had somehow never come to bat at home in the ninth inning (or later) with the score tied. Advertisement Since baseball is utterly ridiculous, Yelich came up in that situation on both Tuesday and Wednesday against the Boston Red Sox. On Tuesday, he belted a grand slam for his first career walk-off home run. He didn't quite repeat the feat on Wednesday, but he did hit a single. Anyway, the game-ender was the 214th home run of Yelich's career, and it removed him from the list of players to never end a game with a homer. According to the Elias Sports Bureau, Yelich had trailed only these five players for most career regular-season homers with zero walk-offs: That brings us to Cash, who fit into Tuesday's Grid as an All-Star with at least 40 career wins above replacement. A five-time All-Star with 52 bWAR, Cash played from 1958 through 1974, mostly for the Detroit Tigers, and was known for unusual bats. In 1981, Cash told Sports Illustrated that he always hollowed out the top of his bat, drilling a hole eight inches deep and half an inch wide and stuffing the top two inches with cork, glue and sawdust. It seemed to help most in 1961, when Cash hit 41 homers and led the majors with a .361 average. 'I owe my success to expansion pitching, a short right-field fence and my hollow bats,' Cash told SI. Cash's other unorthodox bat was uncorked, but disallowed. On July 15, 1973, at Tiger Stadium, Cash came up in the ninth inning against the Angels' Nolan Ryan, who was one out away from a no-hitter. Figuring his bats were pretty much useless, Cash brought a table leg to the box. 'I told Ron Luciano, the umpire, 'He can't hit with that,'' Ryan said in the 2022 documentary, 'Facing Nolan,' 'and (Cash) says, 'It doesn't matter, Ron, I can't hit him anyway.'' Cash popped to shortstop to end the game. The return last week of Atlanta's Ronald Acuña Jr., who missed nearly a year after tearing his left anterior cruciate ligament, is a reminder of his place in an all-time great trivia question. As featured on a recent episode of the 'Starkville' podcast, with The Athletic's Jayson Stark and former major leaguer Doug Glanville, Acuña is one of only three players to have 70 extra-base hits and 70 stolen bases in the same season. Advertisement The first was Ty Cobb, who had 79 extra-base hits and 83 steals for the 1911 Tigers. Acuña did it most recently, with 80 extra-base hits and 73 steals for the 2023 Braves. The other is a bit more obscure: Juan Samuel, with 70 extra-base hits and 72 steals as a Phillies rookie in 1984. As Richie Ashburn might have said: 'Hard to believe, Harry.' Ashburn, the Hall of Famer who shared the Phillies' broadcast booth with Harry Kalas for decades, appears in this 1985 commercial with Samuel, Kevin Gross and Glenn Wilson. It's a time capsule from the bygone days when ballplayers loved to unwind with sandwiches and Trivial Pursuit. (Top photo of Clayton Kershaw: Frank Jansky / Icon Sportswire via Getty Images)

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store